Quoting from a film in an essay

The CW’s new Archie -adaptation Riverdale is wearing its influences on its letter-jacketed sleeves, apparently, with the latest trailer for the show dropping a ton of references to David Lynch’s classic Twin Peaks . There’s the opening shot of the Riverdale town sign, for a start, followed by a dead teenager being pulled out of the water. (Plus, a bunch of rampant sex and violence and the like.) Of course, it remains to be seen how far Riverdale is willing to commit to its homage to Lynch’s soon-to-be-revived cult classic: a long digression on silent drape runners ? Jughead, trapped forever in a wooden end table knob? A supernatural explanation for Archie’s weirdly vibrant hair? We’ll know more, presumably, when Riverdale comes back into style on January 26.

I suspect (again, no data) that the blockquote indentation rule tends to encourage authors to put the cite inside the blockquote, so I wonder whether an HTML5 endorsed way of permitting that might be sufficient to effect a change in authoring practice. Using the footer element inside the blockquote to contain metadata about the quote, including its citation seems both natural and pretty harmless since there should be no need to use footer in the quote itself. Accordingly, my preference would be that the blockquote change was limited to permitting that.

Mathijs states that cult films and fandom frequently involve nontraditional elements of time and time management. Fans will often watch films obsessively, an activity that is viewed by the mainstream as wasting time yet can be seen as resisting the commodification of leisure time. They may also watch films idiosyncratically: sped up, slowed down, frequently paused, or at odd hours. Cult films themselves subvert traditional views of time – time travel, non-linear narratives, and ambiguous establishments of time are all popular. Mathijs also identifies specific cult film viewing habits, such as viewing horror films on Halloween, sentimental melodrama on Christmas, and romantic films on Valentine's Day. These films are often viewed as marathons where fans can gorge themselves on their favorites. [41] Mathijs states that cult films broadcast on Christmas have a nostalgic factor. These films, ritually watched every season, give a sense of community and shared nostalgia to viewers. New films often have trouble making inroads against the institutions of It's A Wonderful Life (1946) and Miracle on 34th Street (1947). These films provide mild criticism of consumerism while encouraging family values. [42] Halloween, on the other hand, allows flaunting society's taboos and testing one's fears. Horror films have appropriated the holiday, and many horror films debut on Halloween. Mathijs criticizes the over-cultified, commercialized nature of Halloween and horror films, which feed into each other so much that Halloween has turned into an image or product with no real community. Mathijs states that Halloween horror conventions can provide the missing community aspect. [43]